brubeck liner notes

7/31/2019 Brubeck Liner Notes

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A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER

Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements ofits host cultures while, miraculously, maintaining its own. As many Jews reconnected in America,escaping persecution and seeking to take part in a visionary democratic society, their experiencesfound voice in their music. The sacred and secular body of work that has developed over the threecenturies since Jews first arrived on these shores provides a powerful means of expressing themultilayered saga of American Jewry.

My personal interest in music and deep abiding commitment to synagogue life and the Jewishpeople united as I developed an increasing appreciation for the quality and tremendous diversityof music written for or inspired by the American Jewish experience. Through discussions with con-

temporary Jewish composers and performers during the 1980s, I realized that while much of this music had become avital force in American and world culture, even more music of specifically Jewish content had been created, perhaps

performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover,preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Musicwas founded in 1990. This project would unite the Jewish peoples eternal love of music with their commitment toeducation, a commitment shared by the Milken Family Foundation since our founding in 1982.

The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast re-pository of musical resources to educate, entertain, and inspire people of all faiths and cultures. The Milken Archive ofAmerican Jewish Music is a living project, one that we hope will cultivate and nourish musicians and enthusiasts of thisrichly varied musical genre.

Lowell Milken

The Milken Family Foundation was established by brothers Lowell and Michael Milken in 1982 with

the mission to discover and advance inventive, effective ways of helping people help themselves and

those around them lead productive and satisfying lives. The Foundation advances this mission primarily

through its work in education and medical research. For more information, visit www.milkenarchive.org.


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A MESSAGE FROM THE MILKEN ARCHIVE ARTISTIC DIRECTOR

The quality, quantity, and amazing diversity of sacred as well as secular music writtenfor or inspired by Jewish life in America is one of the least acknowledged achievementsof modern Western culture. The time is ripe for a wider awareness and appreciation of these variousrepertoireswhich may be designated appropriately as an aggregate American Jewish music.The Milken Archive is a musical voyage of discovery encompassing hundreds of original piecessymphonies, operas, concertos, cantorial masterpieces, complete synagogue services, and folk,popular, and Yiddish theater music. The music in the Archiveall born of the American Jewishexperience or fashioned for uniquely American institutionshas been created by native American orimmigrant composers. The repertoire is chosen by a panel of leading musicians, musicologists, cantors,and Judaic scholars who have selected works based on or inspired by traditional Jewish melodiesor modes, synagogue or other liturgical functions, language, Jewish historical subject matter, role

in Jewish celebrations or commemorations, and content of texts (biblical, literary, etc.), as well as their intrinsic musicalintegrity.

The initial dissemination to the public of the Archive will consist of fifty CDs devoted to particular composers and musicalgenres. In this first phase of the project, more than 200 composers in recordings of more than 600 works are represented.Additional components of the Archive, planned for release at a future date, include rare historical reference recordings,expanded analytical background information, contextual essays, and a special collectors editionaccording to historical,religious, and sociological themes.

The Milken Archive is music of AMERICAa part of American culture in all its diversity; it is JEWISH, as an expressionof Jewish tradition and culture enhanced and enriched by the American environment; and perhaps above all, it is

MUSICmusic that transcends its boundaries of origin and invites sharing, music that has the power to speak to all ofus.

Neil W. Levin

Neil W. Levin is an internationally recognized scholar and authority on Jewish music history, a professor

of Jewish music at the Jewish Theological Seminary of America, director of the International Centre

and Archives for Jewish Music in New York, music director of Schola Hebraeica, and author of various

articles, books, and monographs on Jewish music.


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Although DAVE BRUBECK (b.1920) possesses

one of the finest pianistic gifts in the entire

jazz world and has performed with his trio

and quartet throughout his career to world-

wide ovations, he considers himself a com-

poser who plays the piano. For many decades

a contemporary jazz icon, he has also been apioneer in combining jazz with symphony

orchestra and large choral forces.

A California native, son of a cowboy/rancher

About the Composer father and a classical-pianist mother whowas a pupil of two of the centurys great

piano masters, Tobias Matthay and Dame

Myra Hess, Brubeck majored in music forhis undergraduate degree. He returned

from service during the Second World War

to study composition with Darius Milhaud,

who encouraged him to pursue both jazz

performance and composition. Brubeck began

by writing for his quartet. His first work for

orchestra was Elementals (1963), combining

jazz and symphony orchestra, and his first

major choral work, The Lightinthe Wilderness

(1967), was both premiered and recorded by

the Cincinnati Symphony.


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In the 1950s, as his quartet was in constant

demand throughout the country and especially

on college and university campuses, Brubeck

began to integrate irregular meters and

jazz forms. His own Blue Rondo a la Turk

reflected that development, and the work

was included on the album Time Out, along

with the 1959 recording of Paul Desmonds

Take Five, the first jazz instrumental recordto reach sales of one million. Among Brubecks

A 1969 photo of Brubeck with civil rights leader Ralph Abernathy (19261990)

major works written since the 60s are two

ballets; a musical; the mass setting To Hope!

A Celebration; several oratorios and cantatas;

the Chromatic Fantasy Sonata, inspired by

Bach and premiered at Washingtons Kennedy

Center by the classical chamber group An

die Musik; and numerous piano pieces and

orchestral works. Brubeck is a recipient

of many honors and awardsincluding a

Lifetime Achievement Award by the NationalAcademy of Recording Arts and Sciencesand


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the National Medal of the Arts was presented

to him by President Clinton in 1994. In 2000 he

was elected to the American Jazz Masters, a

group recognized by the National Endowmentfor the Arts for unparalleled achievements

and contributions to this American art form

of jazz.

Neil W. Levin

Dave Brubeck has always maintained that

he wrote his second large-scale sacred

composition THE GATES OF JUSTICE (1969)

to bring togetherand back togetherthe

Jewish people and American blacks. The

natural bond forged between them during thecivil rights movement in the early 1960s had

weakened and was starting to break down

by 1969, especially after the assassination of

Martin Luther King, Jr., in 1968. As leadership

became increasingly fragmented following that

tragic loss, there were emerging anti-Semitic

suggestions among spokesmen for some

marginal black groups; mainstream Jewishcommitment to the civil rights cause appeared

to be cooling, especially as the focus of the

struggle spread from the South to encompass

northern cities; and the pursuit of common

goals and mutual support were no longer so

automatic. The continuing war in Vietnam was

fueling political and generational divisionsunparalleled in recent memory, and the

growing and sometimes militant disruptions

on university campuses appeared to symbolize

a collective angst. It was a time of much anger,

disaffection, fear, and distrust. Against thebackdrop of that turbulent atmosphere, one

of the largest and most influential American

Jewish organizations invited Dave Brubeck to

create a work underscoring and resurrecting

the spiritual parallels between Jews and blacks

and their common causes.

The Gates of Justice is a cantata based onbiblical and Hebrew liturgical textstogether

with quotations from Martin Luther Kings

speeches, as well as from Negro spirituals

and from the Jewish sage Hillel, and with

lyrics by Brubecks wife, Iola, with whom he

collaborated on this and other works. It was

a joint commission by the Union of American

Program Note

Cantor Alberto Mizrahi


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The following is the composers originalprogram note on The Gates of Justice:

The essential message of The Gates of Justiceis the brotherhood of man. Concentrating

on the historic and spiritual parallels of Jews

and American blacks, I hoped through the

juxtaposition and amalgamation of a variety

of musical styles to construct a bridge upon

which the universal theme of brotherhood

could be communicated. The soloists arecomposite characters. The cantor tenor, whose

melodies are rooted in the Hebraic modes,

Hebrew Congregations (UAHC)the lay

umbrella association of Reform synagogues

in the United Statesand the College

Conservatory of Music of the University ofCincinnati. During the exploratory discussions

with the UAHC, Brubeck pointed to the explicit

connection between the historical experience

of the Jewish people and that of American

blacks, and he expressed his conviction

that both peoples possess traditional

spiritual values with important meaning for

contemporary society. The world premiere ofThe Gates of Justice was given at the fiftieth

General Assembly of the UAHC on October

17, 1969, in Miami, Florida, preceded by a

preview performance at the dedication of a

new building at Rockdale Temple in Cincinnati.

Nearly thirty years later, Brubeck still described

its message as humanistic and universal, anecho of the prophetic calls in the Bible for

social justice. And his belief in the common

ground between American Jews and blacks

was undiminished: They were both enslaved,

uprooted from their homelands and wandered

in the diaspora, he said in connection with a

1997 performance. When I began exploring

the music, I was thrilled to hear the similarities

among Hebraic chant and spirituals and blues.

He has therefore suggested that wherever

possible, the tenor role should be sung by a

bona fide cantor and the baritone role by a

black singer familiar with the sonorities and

style of spirituals and blues.

Neil W. LevinKevin Deas


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represents the prophetic voice of Hebrew

tradition. The black baritone, whose melodies

stem from the blues and spirituals, is the

symbol of contemporary man, and a reminderto men of all faiths that divine mandates are

still waiting to be fulfilled.

The structure of the piece somewhat resembles

a bridge; the interlacing of the improvisations,

solos and choral responses are like the

interweaving cables that span from anchoring

piers. The piers are in the form of three relatedchoral pieces (Parts II, VII, XII) based primarily

upon texts from the Union Prayer Book

and the Psalms. The first of these choruses,

O Come Let Us Sing (II), written in rather

traditional style with hints of the present in its

harmonies and rhythms, is a call to worship. A

complex of musical styles (jazz, rock, spirituals,traditional), just as a congregation is a mixture

of individuals, Shout unto the Lord (VII) is

a celebration. It expresses the ecstasy and

release of communal joy. However, at its core

is the sobering message from Martin Luther

King, Jr., our contemporary prophet: If we

dont live together as brothers, we will die

together as fools. In Part XII, Oh, Come LetUs Sing a New Song, the enumeration of the

attributes of God in whose image we are

created, is a reminder of mans potential.

Quoting from King Solomons prayer at the

dedication of his Temple, the cantor opens the

cantata by presenting the work as an offeringto God, and invokes His attention to the

prayers of all people.

Because of their long history of suffering,

Jews and American blacks know better than

any other people the consequences of hateand alienation. It is impossible to concern

oneself with the history and tradition of either

without feeling overwhelmed by the inequities

and injustices that have pervaded all strata of

society. The spiritual and emotional ties, born

of suffering, which bind these people together,

have much to teach all of us on this shrinking

planet. It is the strength of such moral fiberthat will be our ultimate salvation.

The black baritone sings: The stone that the

builders rejected has become the cornerstone

(Psalm 118). The cornerstone for our survival in

America as an ethical society is the acceptance

of all minorities as equal, sharing members,integral to our entire social structure. Just

as Isaiah drew a blueprint of how to build

a society that would allow man to fulfill his

dream, so Martin Luther King dramatized to

the white conscience that it must erase injustice

to redeem its own soul: Let the oppressed go

free. Feed the hungry. Open doors to the poor

and the cast-out. Shelter the homeless. Clothe

the naked. And when men have fulfilled their

obligation to each other, they will no longer

need to ask: Where is justice? Where is God?

It will be self-evident: HERE I AM!

Using the chorus as the voice of the people

who have been pawns of history, Ive trieddramatically to depict the awesome force of


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the unheard millions battering at the man-

made barriers which have separated men from

each other, and consequently from knowing

the nature of God. The heart of the cantata isin the plea, demand, and exhortationOpen

the gates of justice!

Many of our beleaguered cities were riot-torn

when I began to set the text Except the Lord

build the house, they labor in vain that build

it; except the Lord keep the city, the watchman

waketh but in vain. I wished there were someway to engrave this warning

into the mind of every policy-

maker, on every level from

national defense systems to

police enforcement.

The deeper my involvementin the composition, the more

apparent it became that I was

no longer thinking in terms

of social justice, as evidenced

in the histories of Jews and

American blacks. Rather,

through their unquenchable

will to survive and to be free, Ihad been led inevitably to the

more basic problem of man

(universal and individual), his

relationship to other men,

and ultimately to God.

A paradoxical truth became

shockingly clear. We call upon God in our

distress. Yet the divine instrument capable of

transforming society is man himself. One of the

basic tenets of Judaism is that man can becomeGod-like by the pursuit of holiness; and the

answer to alienation is to realize that man is

not separate frombut part ofGods total

creation. If only our minds could grasp this fact

as well as do our cells that turn to dust!

The symbol of the newly awakened conscience

of modern man, the baritone, asks the same

Iola and Dave Brubeck, 1971


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question as the ancient psalmist: What is man?Both his glory and his curse are his unique

position in the order of creation; but little

lower than the angels, the blind forces of

nature and the all-seeing eye of the divine

are wrapped in mortal skin, within which is

continually fought the relentless battle of

good versus evil. Man is good. Slowly he is

learning that the witless destruction of any

part of creation is evil. Man is good. Although

he has continually throughout history martyred

his spiritual leaders, he still remembers andhonors them, not their assassins. Man is good.

From the beginning of time we have all shared

in a dreama vision of peaceful men and

free men living as brothers. Have we not all

one Father? If God created man in His image

and likeness, surely He accepts all men in their

diversity. Throughout the Old Testament thereis reference to all generations. Overlaying texts

from Isaiah, Martin Luther King, Hillel, the

Psalms, and music from The Beatles, Chopin,

Israeli, Mexican and Russian folksongs, Simon

& Garfunkel, improvised jazz and rock, I wrote

a collage of sound for the climactic section,

The Lord Is Good.

When I completed writing The Gates of

Justice, I found in Micah 6:8 a summation of

my thinking: It hath been told thee, O man,

what is good and what the Lord doth require

of thee: Only to do justice, and to love mercy

and walk humbly with thy God. Only?!!

Dave Brubeck

THE GATES OF JUSTICESung in EnglishText adapted from the Hebrew Bible, the

Union Prayer Book, the speeches of Martin

Luther King, Jr., and the writings of Hillel;

with original texts by Iola Brubeck.

1 I. Lord, the Heavens Cannot Contain Thee I Kings 8:2730, 4143

O Lord, the heaven of heavens cannot contain

Thee;

How much less this house that I have builded!

Yet have Thou respect unto the prayer of Thy

servant,

And of Thy people Israel, when they shall pray

toward this place.Yea, hear, and when Thou hearest, forgive.

Moreover, concerning the stranger that is not

of Thy people Israel,

When he shall pray toward this house, hear

Thou;

And do according to all that the stranger

calleth to Thee,That all the peoples of the earth may know

Thy name.

2 II. Oh, Come Let Us Sing Union Prayer Book, based on Psalms 9598

Oh, come let us sing unto the Lord;

Let us raise our voice in joy to the Rock of oursalvation.

Text and Translation


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Sing unto the Lord a new song.

Sing unto the Lord, all the earth.

Sing unto the Lord, bless His name,

Proclaim His salvation day to day.Honor and majesty are before Him.

Strength and beauty are in His sanctuary.

Worship the Lord in the beauty of holiness.

Tremble before Him all the earth.

Let us sing unto the Lord.

Let us raise our voice in joy to the Rock of our

salvation.The Lord reigneth.

The world is established that it cannot be

moved.

Let the heavens be glad and the earth rejoice,

Let the field exult and all that is therein.

He will judge the world with righteousness,

and the peoples in his faithfulness.

Oh, ye that love the Lord, hate evil.

He preserveth the souls of His servants.

Light is sown for the righteous,

And gladness for the upright in heart.

Be glad in the Lord, ye righteous, give thanks

to His holy name.

He hath remembered His mercy and

faithfulness toward the house of Israel.All the ends of the earth have seen the

salvation of our God.

The Lord our God is holy.

3 IIIa. Open the Gates Psalm 118:1923; Isaiah 62:10; 57:14

Open the gates, open the gates.

Open to me the gates of justice,I will enter them and give thanks to the Lord.

The gate is the Lords, the just shall enter in.

I will give thanks to Thee, for Thou hast

answered me

and have become my salvation.

The stone that the builders rejected has

become the cornerstone.

This is the Lords doing, and is marvelous tobehold.

Go through, go through the gates;

Clear ye the way for the people.

Make way! Cast up the highway, gather out

the stones.

Clear the way.

Take up the stumbling block out of the way of

the people!

4 IIIb. Open the Gates Chorale Psalm 118:1923; Isaiah 58:67, 9, and 12

Open the gates. Throw wide the gates to me.

Is not this the fast that I have chosen,

to loose the fetters of wickedness,to undo the bands of the yoke,

And let the oppressed go free?

And when ye break every yoke, is it not to

deal thy

bread to the hungry?

Open the doors to bring the poor that are

cast out to thy house.


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Conductor Russell Gloyd confers with Dave on a point of interpretation.


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Producer David Frostwith Dave Brubeck

Members of the BaltimoreChoral Arts Society


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When thou see the naked thou shalt

cover him.

Then thou shalt call and the Lord will answer;

Thou shalt cry, and He will say, Here I am!Out of the way of the people!

They shall build the old waste places.

Thou shalt raise up the foundations.

Thou shalt be called the repairer of the

breach,

the restorer of the paths to dwell in.

Open the gates. When will you open the

gates?

5 IV a & b. Except the Lord Build the HousePsalm 127:1

Except the Lord build the house

They labor in vain that build it.

Except the Lord keep the city,

The watchman waketh but in vain.

6 (Improvisation on Except the Lord Buildthe House)

7 V. Lord, LordIola Brubeck; I Kings: 8:2730

Lord, Lord, what will tomorrow bring?

Today I felt an arrow stinging in a wound

so deep,

My eyes refuse to weep.

What will tomorrow bring?

Lord, how can I face this day?

Each dawn I walk the citys silence with asense of peace.

They speak!

Nigger! Whitey! Jew!

There is no peace.

They speak!There is no peace.


Lord, when will the ill wind change?Were all just little children crying in a worldof hate for love,and still we wait for love, and still we wait!


O Lord! The heaven of heavens cannotcontain Thee.

How much less this house that I have builded.Yet have Thou respect unto the prayers of Thy

servant, and Thy people, Israel,when they shall pray toward this place.

Yea, hear, and when Thou hearest, forgive.

8 VI. Ye Shall Be Holy Leviticus 19:2, 18, 33, 34

Ye shall be holy, for I the Lord your God am

holy.

Thou shalt not take vengeance nor bear any

grudgeagainst the children of Thy people,

but thou shall love thy neighbor as thyself.

If a stranger dwell with thee in your land,

ye shall not do him wrong.

And thou shalt love him as thyself.

For ye were strangers in the land of Egypt.


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9 VII. Shout unto the LordPsalms 9598; Isaiah 2:4; 50:8; 57:19

Martin Luther King, Jr.; Hillel

Come, let us shout unto the Lord!Let us make a joyful noise to the Rock of our

salvation.

Shout for joy, oh shout for joy!

Sing to the Lord and shout for joy with voice

and trumpet.

Let us sound the trumpet!

With the sound of the trumpet, the sound ofthe cymbal,

we praise His name.

Let us praise Him with dance and the sound

of the timbrel and harp.

Make a loud noise! Make a loud noise!

Let the seas roar with joy, and floods clap

their hands.

Praise the Lord with the harp, with the drum!

Thou hast kept us in life.

Thou hast not let our footstep stray.

Thou hast watched over us in the night of

oppression.

Thy mercy sustains us in the hour of trial.

Now we live in a land of freedom.Let us continue to be faithful to Thee.

May Thy law rule the life of our children,

and Thy truth unite their hearts.

We must stand for freedom!

Stand!

Knowing that one day we will be free.

If we dont live together as brothers,

we will die together as fools.

We are living in a land of freedom!

Shout!

Free at last! Im free at last!Thank God Almighty, were free at last!

Im free! Free!

Who will contend with me?

Let us stand up together.

Who is my adversary?

Let him come near to me.

If the time for action is not now, when is it?

Peace to him that is far off. Peace to him that

is near.

Peace!

Let them beat their swords into plowshares,

and spears into pruning hooks.

Nation shall not lift up sword against nation,nor learn war anymore.

Make peace, not war!

Let them beat their swords into plowshares,

and spears into pruning hooks.

No more war, give us peace.

Make a loud noise, shout!

0 VIII. When I Behold Thy Heavens Psalm 8:47, 10

When I behold Thy heavens, the works of

Thy fingers,

the moon and the stars which Thou hast

established;

What is man, that Thou art mindful of him?


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And the son of man,

that Thou thinkest of him, yet Thou hast

made him

but little lower than the angels,

and hast crowned him with glory and honor?

Thou hast made him to have dominion over

the works of Thy hands,

Thou hast put all things under his feet.

O Lord, how glorious is Thy name in all

the earth.

! IX. How Glorious Is Thy Name Psalm 8:2

How glorious is Thy name in all the earth!

@X. The Lord Is Good Psalm 133:1; Isaiah 60:18, 20; Psalms 100:35; 91:4;

quotations from various popular and folksongs

Behold how good and how pleasant it is forbrethren to dwell together in unity.Violence shall no more be heard in thy land,desolation nor destruction within thy borders,but thou shalt call thy walls salvation,and thy gates praise.And the days of thy mourning shall be ended.

It is He that hath made us, and we are His.We are His people and the flock of His pasture.Enter into His gates with thanksgiving,Enter into His courts with praise!

Give thanks unto Him and bless His name.Bless His name, for the Lord is good!His mercy endureth forever.

And His faithfulness unto all of His beautifulpeople,

Where do they all come from? Its the soundof silence.

Go through the gates of justice;then Gods will shall be done.

All people are created by the same God; weare one.

And the days of thy mourning shall be ended.Violence shall no more be heard in thy land.He will cover thee with His pinions,and under His wings He will give you refuge,refuge for all when we are one,all generations, when we are one.

# XI. His Truth Is a Shield Martin Luther King, Jr.; Psalm 91:5

There are knives and there are other arms.You have called on all of us to put them away,To bear instead, the weapon of nonviolence,the breastplate of righteousness, the armor

of truth.

His truth is a shield and a buckler.Thou shalt not be afraid of the terror by

night,nor of the arrow that flyeth by day.

$ XII. Oh, Come Let Us Sing a New Song Psalm 149 (adaptation)

O come, let us sing a new song to the Lord.O come let us sing a new song unto the Lord!

1969 St. Francis Musical Co. and Malcolm Music Co.


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About the Performers

In the late 1940s DAVE BRUBECK was encouraged by his teacher, composer Darius Milhaud,

to pursue a dual career in jazz and composition. Brubeck and other Milhaud students at Mills

College in Oakland, California, formed an octet. Its early members included Cal Tjader and

Paul Desmond, as well as clarinetist Bill Smith, who still appears frequently with Brubeck. The

DAVE BRUBECK TRIO was established in 1949 when Brubeck, Tjader, and Ron Crotty cut their first

records in San Francisco, winning Best Small

Combo awards in the prestigious Down Beat

magazine. Paul Desmond joined on alto

saxophone in 1951, creating the quartet

that caused a stir in the jazz world with a

distinctive harmonic approach that became

known as West Coast or cool jazz.

During the 50s the quartet performed at

hundreds of college campuses as well as atjazz clubs in major cities, where package

shows featured Brubecks ensemble

with Duke Ellington, Charlie Parker, Dizzy

Gillespie, and others. The Dave Brubeck

Quartet won the first jazz poll conducted

by the Pittsburgh Courier, an American

black newspaper, and continued to take

top honors in Down Beats reader polls.

International tours by the quartet have

made it one of Americas foremost goodwill

ambassadors. It entertained world leaders at

the Reagan-Gorbachev summit in Moscow

in 1988 and has performed regularly for

American presidents, other heads of state,

and Pope John Paul II.


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Always striving to expand the horizons of jazz, Dave Brubeck and his quartet appeared and

recorded with Leonard Bernstein and the New York Philharmonic in 1959. Brubeck continues to

appear as composer-performer in concerts of his choral and symphonic works. He celebrated his

eightieth birthday with the London Symphony Orchestra, performing an all-Brubeck program

that featured him along with four of his sons as soloists.

The Milken Archive recording of Gates of Justice features Dave Brubeck and the rhythm section

from his quartet. Bassist MICHAEL MOORE recently joined the ensemble after an illustrious

performing career, having started at the age of twenty with Woody Herman in New York.

British-born drummer RANDY JONES, who has worked with such jazz greats as Gerry Mulligan,Bill Watrous, and Harry James, was invited to join the Brubeck Quartet in 1979 and has remained

a member ever since.

Randy Jones Michael Moore


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The American bass baritone KEVIN DEAS, a graduate of The

Juilliard School in New York, has received international acclaim

for his portrayal of Gershwins Porgy in concert performances of

Porgy and Bess with the Philadelphia and Montreal symphony

orchestras, at the Saratoga Festival, andall with Bobby

McFerrin conductingat the Ravinia Festival, with the St. Paul

Chamber Orchestra, the Buffalo Philharmonic, the San Francisco

Symphony, the Utah Symphony, the National Symphony, the

New York Philharmonic, and the Israel Philharmonic orchestras.

Some of Deass other notable appearances include Mozarts

Requiem with the Atlanta Symphony; Siegmeisters A Tooth forPaul Revere with the Bronx Arts Ensemble; Dave Brubecks Gates

of Justice, at Carnegie Hall; and Brubecks mass To Hope!, in

Moscow. In 1992 he made his debut with the Chicago Symphony

in a concert version of X: The Life and Times of Malcolm X, by Anthony Davis. Deas has also

toured the United States and Europe as the lead vocalist with Riverdance and has appeared

at the Spoleto Festival (Italy) in a new production of Menottis Amahl and the Night Visitors

in honor of the composers eighty-fifth birthday. Deas has sung in concert performances and

for the recording of Wagners Die Meistersingerwith the Chicago Symphony under the late Sir

Georg Solti, and he has recorded Varses Ecuatorialwith the ASKO Ensemble under Riccardo

Chailly, as well as Dave Brubecks To Hope! with the Cathedral Choral Society. Deas is currently

on the faculty of Princeton University.


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CANTOR ALBERTO MIZRAHI, one of todays most prominent

interpreters of the Hebrew liturgy as well as a versatile stage

performer, is among the very few American cantors at homein both cantorial art and the classical secular repertoire. Born in

Greece to a Sephardi family that emigrated soon afterward to

the United States, Mizrahi has also distinguished himself as an

exponent of the Ashkenazi cantorial tradition. He is a graduate

of the Jewish Theological Seminarys Cantors Institute (now the H.

L. Miller Cantorial School), where he studied with Hazzan David

Kusevitsky and numerous other leading figures in Jewish music.

After firmly establishing an international reputation, he becamea protg of the legendary cantor Moshe Ganchoff, from whom

he received much of the transmitted tradition. In addition to

serving prestigious American congregations, Mizrahi has appeared as a guest cantor throughout

the United States, Europe, and Israel. His extensive list of appearances includes a concert

at the Capitol Rotunda in Washington and at Auschwitz liberation commemorations in Hanover

and Hamburg. He has also made numerous recordings, including The Voice of a People; Die

Stimme der Synagoge; Chants Mystiques; and Songs for Jerusalem.

The BALTIMORE CHORAL ARTS SOCIETY was founded in 1967 as a performing outgrowth of

the choir of Baltimores Cathedral of the Incarnation, and it has evolved into one of Marylands

leading cultural institutions, recognized nationally for its artistic excellence and imaginative

programs. The Society, which comprises a ninety-voice chorus, a professional thirty-five-member

orchestra, a professional chamber chorus, and an educational outreach ensemble, performs

regularly in Baltimores Meyerhoff Symphony Hall as well as in other venues throughout themid-Atlantic region. The chorus has appeared with the National Symphony Orchestra at the

Kennedy Center under such conductors as Roger Norrington and Claudio Scimone, as well as

with the Baltimore Symphony Orchestra, in New Yorks Merkin Concert Hall, and at the Festival

of the Costa del Sol in Spain. Choral Arts concerts are broadcast locally, and the ensemble is

often featured nationally on The First Art(Public Radio International) and Performance Today

(National Public Radio). In 1991, under the direction of TOM HALL, music director since 1982,

Choral Arts premiered Peter Schickeles Blakes Proverbs, composed in honor of the ensembles


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twenty-fifth anniversary, and in 1997 it premiered Billy the Kidby Libby Larsen, commissioned

jointly with the Kings Singers and the City of Birmingham (England) Chorus. The Choral Arts

Society also encourages the creation of new choral works, sponsoring an annual competition.

RUSSELL GLOYD has established a diverse

career as conductor, producer, and arranger.

Since 1976 he has conducted many symphonic

and choral performances with the Dave

Brubeck Quartet in the United States and

around the world. As a guest conductor, he

has appeared with such organizations as theAtlanta, Dallas, San Francisco, and National

symphony orchestras and the Handel and

Haydn Society of Boston. He made his London

debut with the London Symphony Orchestra

in 1989 and his Vienna debut in 1995. He has

recorded with the London Symphony Orchestra

as part of their prestigious LSO Live series, and he has also recorded a two-CD set with the LSOentitled Classical Brubeck.


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Credits

MILKEN ARCHIVELowell Milken, FounderNeil W. Levin, Artistic Director; Editor in ChiefRichard V. Sandler, Executive DirectorPaul W. Schwendener, C.O.O., A&R Adviser, and Director of MarketingLawrence Lesser, Production DirectorRebecca Rona, Administrative DirectorGina Genova, Associate Director of Research; Associate EditorBonnie Somers, Communications Director

Jules Lesner, Archive CommitteeChristopher Crain, Archive CommitteeRichard Lee, Music CoordinatorTodd Mitsuda, Associate Director, Product ManagementEditorial Consultants:Maxine Bartow, Richard Evidon

MILKEN ARCHIVE EDITORIAL BOARDNeil W. LevinPaul W. SchwendenerSamuel AdlerOfer Ben-AmotsMartin BookspanCantor Charles DavidsonHenry FogelLukas Foss

Rabbi Morton M. LeifmanGerard SchwarzEdwin Seroussi

The Milken Archive of American Jewish Music would not be possible without the contributions ofhundreds of gifted and talented individuals. With a project of this scope and size it is difficult toadequately recognize the valued contribution of each individual and organization. Omissions inthe following list are inadvertent. Particular gratitude is expressed to: Gayl Abbey, Donald Barnum,Paul Bliese, Johnny Cho, Cammie Cohen, Jacob Garchik, Stephanie Germeraad, Ben Gerstein,Jeff Gust, Scott Horton, Jeffrey Ignarro, Justin Inda, Brenda Koplin, Joshua Lesser, Adam J. Levitin,Tom Magallanes, Sabrina Meier-Kiperman, Eliyahu Mishulovin, Gary Panas, Nikki Parker,Jill Riseborough, Jonathan Romeo, Manuel Sosa, Carol Starr, Matthew Stork, Brad Sytten,Boaz Tarsi, Julie Zorn, and Jessica Yingling.

Special recognition is due composer Michael Isaacson who served as a catalyst to the Archives creation,

and collaborated with the Milken Family Foundation in its work during the Archives early years.

Photo credits:Page 5, courtesy of the Estate of Ralph Abernathy, from the Dave Brubeck Collection, Holt-Atherton SpecialCollections, University of the Pacific Libraries. Used by permission.Page 9, photo by K. G. Harding, from the Dave Brubeck Collection, Holt-Atherton Special Collections,University of the Pacific Libraries. Used by permission.Page 19, photo by Lisa Kohler.Page 20, photo by Lauren Brill.


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Dave and Iola Brubeck, at the recording session, 2001

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brubeck liner notes

Documents